desert

All the Mystery, and Fear, and Terror, that Love Can Hold: Part 3

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

All the Mystery, and Fear, and Terror, that Love Can Hold: Part 2

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

All the Mystery, and Fear, and Terror, that Love Can Hold: Part 1

Part lyrical essay, part pulp fiction, Noam Toran’s new column is a serial narrative annotated by images and GIFs, that speaks of the problematic imprinting of Western mythologies and imaginaries onto the desert landscape. Drawing from the cultural, ecological, and imperial conditions of the American Southwest where he was born, Toran intersects personal and family experiences with longer and larger histories, hopping across time periods and genres, from 16th century Spanish expeditions to the paranoid atmospheres of the 1970s, and from science fiction to horror-comedy.

An Expert Testimony

In Eyal Weizman’s new book, the reader joins the author as he hovers over contested territories in the Middle East, follows him as he traces the histories, ideologies, slippery borders, technologies, and narratives involved in the State-inflicted marginalization and displacement of the Bedouin inhabitants of the Negev desert, in Southern Israel. Rotem Rozental reviews “The Conflict Shoreline,” as well as Weizman’s methodology of forensic visual culture research.